I work with sculpture and macro-photography exploring the themes of Ecology and manipulating nature. I use macro-photography to document natural organic structures found in nature and often apply scientific methods of investigation to both analyse and curate my findings. To support the photographs, I cast the physical objects as a way of presenting the viewer with two truths: the preserved physical form and its mediated representation. I also create singular indeterminate sculptures that explore materiality through materials such as plaster, metal, and acrylic. These works result in ambiguous, organic, textured forms that reference naturally occurring biological subjects, such as micro-organisms. My recent interest in collecting sound and materials directly from nature made me realise that nature and organic matter were not only my subject but also my sculpting material.

My practice is primarily STEM-based and is grounded both materially and conceptually in technology, biology, and epistemology. I am inspired by present research into fungi and the mycelium networks as well as past academic research such as Martin Kempt’s concept: “every act of looking is an active act of interpretation”[1]. This is key to the museum-like way my work is displayed, as I acknowledge and question if we really do ‘see what we want to see’. My practice shifts between two-dimensional and three-dimensional mediums during the research and production stages, as I alternate between presenting the media together and separately. The choice of display manipulates the impression, as the precise and considerate use of a stand that showcases the often-delicate sculptures gives the objects importance. The suggestion that the work is a valuable specimen or a historical find, invites the viewer to look closer and investigate, mimicking my original investigatory approach to the object. 

Buckminster Fuller’s hypothetical architectural forms and Olafur Eliasson’s maquettes and construction of visual illusions has led to my current use of digital modelling and 3D printing. By using the machine to translate the seemingly impossible forms into tangible, free-standing objects, I create work whose suggestive scientific form makes the viewer question the object's identity. My objective is to open debates around the power that science has in moulding our understanding of the world and our interaction with nature.​







[1] Kemp,M. (2000). Visualisations: the nature book of art and science. England: Tate Publishings Ltd, p. 3.  

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